Next, his chairs showed Louis the Fifteenth characteristics, notably in the splats, which were often handsomely carved and pierced. During this time he produced his ribbon-back chair, though his best chairs, showing this influence, were upholstered armchairs, with legs terminating in French scroll feet. Later, he introduced in his chairs Gothic and Chinese features, even though the backs still preserved the Dutch and French features. Finally, the details of the several features became much mixed, and at length resulted in a predominance of Chinese characteristics. Most of his chairs were done in mahogany, which was a favorite wood in his day, and his skill is especially displayed in the wonderful carving which is typical of much of his work. Not only are his chairs excellently proportioned, but they are so substantially built that even to-day, after more than one hundred and fifty years' usage, they show no sign of wear. [Illustration: PLATE XXVII.--Empire Sofa; Cornucopia Sofa; Sofa in Adams style, about 1800.] Not a little of his work found its way to New England homes, many fine specimens at one time gracing the dwelling of "Lord" Timothy Dexter, Newburyport's eccentric character, who made his fortune by selling warming pans to the heathen, who used the covers for scooping sugar, and the pans for sirup. His home was filled with quantities of beautiful furniture, including many excellent Chippendale chairs. Hepplewhite, the second of the master cabinet-makers, succeeded Chippendale in popular favor in 1789, and his furniture, while much lighter and consequently less durable than that of his predecessor, showed a beauty of form and a wealth of ornamentation that rendered it most artistic. He employed not only carving of the most delicate and exquisite nature, but inlay and painting as well, introducing japanning after the style of Vernis-Martin work. The shield or heart-shaped back is one of the characteristics of his chairs, though he also used oval backs and sometimes even square backs. They are all very graceful and delicate, with carved drapery, and many of the shield-shaped type show for decoration the three feathers of the Prince of Wales, Hepplewhite being one of the Prince's party when sentiment ran strong during the illness of George III. Other decorations employed by him were the urn, husk and ear of wheat. The wood he generally used was mahogany, though occasionally he made use of painted satinwood. [Illustration: PLATE XXVIII.--Sheraton, mahogany frame, about 1800; Sheraton with solid arms and straight, slender legs; Sheraton, about 1790. Note the graceful curve of the arms.]